CityBeat - Movies http://www.citybeat.com/cincinnati/articles.sec-83-1-movies.html <![CDATA[Embracing the Present in ‘Wish I Was Here’ - ]]>

There’s something fitting in the work of Zach Braff — the star of successful television comedy series Scrubs, which sang, danced, and laughed its way through the madcap years of med school residency for its hapless trio of would-be doctors — because Braff, settling in at the helm of his second feature film, has a not-exactly morbid curiosity with life and death.

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<![CDATA[Filmfest München: What Cincinnati's Sister City Can Teach Us - ]]> Instead of starting off with questions about what I learned about international film culture from attending the Munich Film Festival, it would be far more instructive to kick off with a discussion about what the experience made me think about in terms of what it means to be modern.
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<![CDATA[A Family-Friendly Call From ‘Earth to Echo’ - ]]>

Earth to Echo wastes no time setting up its premise. Three young teens — Alex (Teo Halm), Tuck (Astro) and Munch (Reese Hartwig) — as awkwardly nerdy as can be, land themselves in the middle of quite an adventure when they begin investigating cell phone disturbances in their soon-to-be redeveloped community in Nevada.

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<![CDATA[‘Obvious Child’ is Not Just an Abortion Rom-Com - ]]>

I love Donna Stern (Jenny Slate), the protagonist of Obvious Child, the new indie dramedy from co-writer and director Gillian Robespierre (working from her 2009 short of the same name), because Donna is wickedly smart and engaging, a cute Jewish woman we rarely get to see in mainstream romantic comedies.

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<![CDATA[‘The Rover’ Captures the Utter Collapse of Humanity - ]]>

Based on his work as a filmmaker, David Michôd, Australian partner of the brothers Edgerton (Joel and Nash), channels into the darkest corners of his heart to investigate the primal, animalistic urges that take mankind far away from the civilized façade we’ve constructed for ourselves.

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<![CDATA[Demanding More of ‘Words and Pictures’ - ]]>

Back in the early aughts, Clive Owen starred in a series of promotional online shorts created by BMW called The Hire, where he played a mysterious driver with no name enlisted by powerful people to tackle jobs that required a certain skill set, particularly behind the wheel, that only he had.

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<![CDATA[‘Edge of Tomorrow’ Offers Indie Sensibilities with Studio Purse Strings - ]]>

 At one time, the title for Doug Liman’s new release was All You Need is Kill and it featured a raw 18-year-old military recruit sucked into a time-fractured narrative that had him reliving the same day on what seemed like an endless loop — a D-Day style attack on an alien outpost on the Normandy beachhead that concluded with great losses to the human forces.

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<![CDATA[Holocaust Aftermath Tests Faith in Festival Gem, 'Ida' - ]]> Last year’s Toronto International Film Festival offered big ticket selections like Gravity and 12 Years a Slave that would go on to claim the lion’s share of the attention during the awards season; advance previews of titles like Don Jon, Prisoners and Rush seeking to grab some last minute buzz before their opening weekends...]]> <![CDATA[Godzilla Is Coming! Run for the Theaters! - ]]>

Cincinnati, we need to have a long overdue discussion. What do we do if Godzilla rampages through our city? Would the streetcar help in this scenario? Sure, a bit. Maybe it could stub Godzilla’s toe.

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<![CDATA[Change the World 'For No Good Reason' - ]]> How often do we forget the real connection between journalism and art? The thread stitching the two together is honesty, and that is what documentary director Charlie Paul aims to capture in his first feature effort: the seams between world-changing reportage and the creative spirit unleashed. ]]> <![CDATA[Dirty Pretty Decisions Drive 'Locke' - ]]> Steven Knight, Oscar-nominated screenwriter (and director) of Dirty Pretty Things, updates the means of communication in his new feature, Locke, but also strips the premise down to the core — to truly shocking effect.]]> <![CDATA['Only Lovers Left Alive' Captures the Intimacy of Life Lived Well - ]]> Adam (Tom Hiddleston) has a death wish, or so it seems. But it is not a consideration borne of hasty impracticality, a sign of immediate depression. ]]> <![CDATA[Untangling the Webs of 'The Amazing Spider-Man 2' - ]]> At first glance, it would seem that we identify with Peter Parker (Andrew Garfield) because he is an Everyman, a kid really, who stumbles upon great power and accepts the weighty responsibility that comes with it. But dig a little deeper and, in fact, there’s nothing at all about Peter Parker that’s relatable.]]> <![CDATA[You Will Know My Name Is 'Dom Hemingway' - ]]> When we first encounter Dom Hemingway (Jude Law), he is addressing us while being “serviced,” if you will. It takes a moment for us to realize the nature of the “servicing” and the location, but it becomes quite clear that Dom is full of himself and enjoying the moment...]]> <![CDATA[Canada's Funniest Criminals Balance Genius and Dimwit - ]]> Trailer Park Boys is a mockumentary/sitcom that explores the meaning of life through a comedic ensemble of drunken, perpetually stoned reprobates. In other words, it’s quite relatable.]]> <![CDATA[Critical Lessons From an After-School Film Club - ]]> For the past eight-plus years, I have been facilitating an evolving after-school program that began quite innocently with me subbing in for my CityBeat colleague Kathy Y. Wilson.]]> <![CDATA[Comparing the Supreme Identities of Captain America and Jason Bourne - ]]> There’s not a lot of critical love for the comic book genre, despite the box office status reached by mutant hordes’ and various avenging crusaders’ collective assaults.]]> <![CDATA[Filmmaker Denis Henry Hennelly Discusses Futility of Isolationism - ]]> A certain sect living in the modern world fantasizes about living off the grid, away from the pervasiveness of technology, what we perceive to be an inorganic way of life and the pettiness of human interactions.]]> <![CDATA[Villeneuve and Gyllenhaal Double Up for Head-Scratcher - ]]> Director and writer Denis Villeneuve (the French-Canadian whose Incendies was a Best Foreign Language Film Oscar nominee in 2011) arrived at this year’s Toronto International Film Festival with a double feature (Enemy and Prisoners) infused with its own moody concoction pairing doubles within doubles...]]> <![CDATA[The Tough and Tender Heart of Wes Anderson - ]]> The Grand Budapest Hotel is the latest release from Wes Anderson, the precious stylist who seems intent on claiming the distinction of being the current iteration of early Woody Allen — meaning he’s adept at aggressively being himself. ]]>